Backstage Interview Transcript | 84th Academy Awards

Sound Editing

CATEGORY: Sound Editing
INTERVIEW WITH: Philip Stockton and Eugene Gearty
FILM: "Hugo"


Q. It's your first win. Just tell us how you're feeling right now and what it means to you.
A. EUGENE GEARTY) We're feeling pretty darn good, I'd say. It means a lot to us to be here. Pretty great.
A. PHILIP STOCKTON) Absolute honor.

Q. So, HUGO just won for visual effects as well?

Q. So, do you think this reflects, perhaps, the Academy's embracing of the whole ethos of silent cinema and everything that HUGO kind of represented?
A. PHILIP STOCKTON) In a word, yes. I mean, obviously, a lot of technical skills went into this. I'm actually a little disappointed that there weren't any actor and actress nominations for this. Obviously it was a technical masterpiece to pull off. Obviously, the tech award to have that recognized makes a lot of sense.

Q. Did you used to practice your Academy award speech when you were little? And were you big movie fans?
A. EUGENE GEARTY) When I was little? I used to [inaudible].

Q. And were you big movie fans when you were growing up?
A. EUGENE GEARTY) I wasn't that big. I definitely yeah, I've always loved movies
A. PHILIP STOCKTON) You don't find this funny?
A. EUGENE GEARTY) I was making my own movies and yeah, I've been a fan all my life, so this
A. PHILIP STOCKTON) I'm sorry. I'm sorry.
A. PHILIP STOCKTON) Oh, he answered that question.

Q. Hi guys, I'm wondering if while you're making the movie, are you able to look at each other at some point and say, you know, this is really good, I mean, we might win an Oscar for this. Is that something that goes through your mind?
A. EUGENE GEARTY) Yes, that definitely has gone through our mind. When you work for Martin Scorsese, there's always a chance you're going to be nominated for an Oscar. So, yes [inaudible].
A. PHILIP STOCKTON) I think we would have been nominated for SHUTTER ISLAND if it came out in the right year.

Q. Scorsese films have a distinct sound to them, especially with soundtracks, The Rolling Stones, Eric Clapton, especially GOODFELLAS and CASINO. Given that legacy, what was the challenge here and did you fight that trend or what how did it work as a sound editor knowing how rich his music is in his prior films?
A. EUGENE GEARTY) We actually worked on all of those films, so we I guess we just had to sort of
A. PHILIP STOCKTON) Yeah, it's actually a really good question. It's incredibly difficult to work with the situation where Marty is very the most important thing is dialogue, the narration and then the soundtrack, as is music. And rightfully so. When you the films you mentioned have great soundtracks, rock and roll and everything. What was great on this was Howard Shore's score was such a masterpiece and we were very fortunate to be able to work early on together and it intertwined. Forgive me, but I think there were only two source cues on this film as opposed to the films you mentioned that have a lot more source cues.


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